Composed by Jacob B. Weber. Full score. Concordia Publishing House #977884. Published by Concordia Publishing House

SSAA choir (a cappella)

SKU: LO.15-3843H

Composed by Kate Crellin. Choral. Concert, General. Octavo. Heritage Music Press #15/3843H. Published by Heritage Music Press (LO.15-3843H).

ISBN 9780787774004.

The delicate harmonic beauty of this piece is truly stunning. Though short in length, there is immense opportunity for magical expressive moments. With close harmonies weaving in and out of consonances and unisons and flowing passages paired with moments of rhythmic energy, there is so much music to be made. A repeating ending of layered melodies that gradually fades al niente will have your audience holding their breath. Composed as a set of three compositions, also look for Day of Fire and Sun (15/3898H) and Home–Thoughts, from Abroad (15/3844L).

By Ruth Schonthal. For cello and piano. Work premeried: Neues Kurhaus, Bad Wildungen (D), Corinna Eikmeier: Cello, Brunhilde Eikmeier, Piano. Commissioned by the Delta Omicron International Music Fraternity. Level: advanced. Score and parts. Composed 1989. Duration 13'. Published by Furore-Verlag (German import).

Edited by John Glenn Paton. For Voice. Book; Masterworks; Vocal Collection. Gateway Series. Masterwork. 128 pages. Published by Alfred Music Publishing

Choral Descant, alto voice, soprano voice

SKU: CF.CM9578

Composed by English Carol. Arranged by Ken Berg. Fold. Performance Score. 12 pages. Duration 3 minutes, 52 seconds. Carl Fischer Music #CM9578. Published by Carl Fischer Music (CF.CM9578).

ISBN 9781491154007. UPC: 680160912506. 6.875 x 10.5 inches. Key: E minor. English. William C. Dix.

This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sureall singers agree on the notes actually written. This will make the singers  the listeners much more comfortable with your performance.The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout.The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word.To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty.Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.

Choral SSAB Choir, piano

SKU: CF.CM9599

Composed by Sonja Poorman. Fold. Performance. 8 pages. Duration 2 minutes, 3 seconds. Carl Fischer Music #CM9599. Published by Carl Fischer Music (CF.CM9599).

ISBN 9781491154212. UPC: 680160912711. 6.875 x 10.5 inches. Key: Eb major. English, Latin. Original.

A dynamic opener or closer for any concert program, Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing. The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness. Observe the sudden dynamic changes in the final A-section. Latin pronunciation: Kahn-TAH-teh DAW-mee-naw KAHN-tee-koom NAW-voom, Kahn-TAH-teh DAW-mee-naw AWM-nees TEH-rah. Latin text translation: Sing to the Lord a new song, Sing to the Lord all the earth.
A dynamic opener or closer for any concert program,A Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing. The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness. Observe the sudden dynamic changes in the final A-section. Latin pronunciation: Kahn-TAH-tehA A DAW-mee-nawA A KAHN-tee-koomA A A NAW-voom, Kahn-TAH-tehA A DAW-mee-nawA A AWM-neesA A A TEH-rah. Latin text translation: Sing to the Lord a new song, Sing to the Lord all the earth.
A dynamic opener or closer for any concert program, Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing. The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness. Observe the sudden dynamic changes in the final A-section. Latin pronunciation: Kahn-TAH-teh DAW-mee-naw KAHN-tee-koom NAW-voom, Kahn-TAH-teh DAW-mee-naw AWM-nees TEH-rah. Latin text translation: Sing to the Lord a new song, Sing to the Lord all the earth.
A dynamic opener or closer for any concert program, Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing.The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness.Observe the sudden dynamic changes in the final A-section.Latin pronunciation:Kahn-TAH-te h   DAW-mee-naw    KAHN-tee-koom     NAW-voom,Kahn-TAH-teh    DAW-mee-naw   AWM-nees     TEH-rah.Latin text translation:Sing to the Lord a new song,Sing to the Lord all the earth.

SKU: HL.48181262

Composed by Jacques Chailley. Leduc. Classical. CD. 38 pages. Alphonse Leduc #AL20631. Published by Alphonse Leduc (HL.48181262).

UPC: 888680868543. 8.0x11.5x0.248 inches.

Complete theory of music by Jacques Chailley and Henri Challan is a really complete method for musician beginners. This second and final volume is following the first one and covers the eleven last chapters of the method. It features: I. Principle of chords: Consonant and Dissonant II. Natural consonant chords III. Artifical consonant chords IV. Cadenza V. Modes VI. Rhythm VII. Ornaments VIII. Rigorous intonation IX. Transcribing X. Transcribing Instruments XI. Gregorian Songs Appendix Really focused on theory and including some exercises, this book will be a better fit for mature music beginners. Henri Challan was a French composer and professor at the Paris Conservatoire who won the Grand Prix de Rome and who has wrote many music analysis. Jacques Chailley was a musician and Deputy Director of the Paris Conservatoire..

Voice

SKU: BT.ALHE27750

Classical. Book Only. Heugel & Cie #ALHE27750. Published by Heugel & Cie (BT.ALHE27750).

French.

Treatise of Harmony – Bass and Voices is an absolute must-have volume on harmonies by Théodore Dubois. Written in the last century (1921), this book includes the two parts of the treatise:Part 1 – Basses and Part 2 – Voices.

This volume is quite complex, requires some strong theory knowledge and would be playable by upper-advanced players and professionals. It also features numerousexamples.

The two parts contains the following sub-sections:

Part 1 – Basses: 

- Consonant harmonies

- Dissonant harmonies

-Alterations

- Delays

- Pedals

- Appendix

Part 2 – Voices: 

- Consonant harmonies

- Dissonant harmonies

-Alterations

- Delays, Pedals…

- Appendix

SKU: GI.G-10067

Composed by Deborah Williamson. This edition: Student edition. Music Education. 108 pages. GIA Publications #10067. Published by GIA Publications (GI.G-10067).

ISBN 9781622774265.

A Course in French Lyric Diction by author Deborah Williamson is a complete and comprehensive guide to French pronunciation, articulation, inflection, flow, and vocalization for singers and teachers of singing—ideal for any collegiate diction course. Available in both an instructor’s edition and a student edition, Williamson offers an overview of French lyric diction that addresses the language’s distinctive elements, information on syllabification, stressing, word rhythm, accent and other diacritical marks, and vocalic harmonization. In the sections on vowels, consonants, and liaison and elision, the author explores the nuances of French pronunciation, along with its unique challenges for the singer. Williamson presents vowels first by sound and then by letter, and organizes consonants by letter. All pronunciation is precisely transcribed into the International Phonetic Alphabet (IPA), an essential tool used extensively throughout the book. Williamson also provides a review of relevant IPA at the beginning of the book. For each section of the book, the author provides numerous practice worksheets so that students may apply newly acquired skills and knowledge to French text from the standard art song and operatic repertoire. The separate instructor’s edition provides all of the answers in red for quick reference, as well as reproducible materials for in-class use, including a sample syllabus, assignment sheet, test review sheets, two tests, an oral exam, and a final exam. A Course in French Lyric Diction is an expert resource that will facilitate the mastery of French diction and transform the study of diction from a pedantic, syllabic production of language into an expressive communication of the text, a worthy goal for students and teachers alike. Deborah Williamson is Professor of Voice at Baylor University and has taught French diction at the university level for more than twenty years.

Voice (Music For Voice)

SKU: HL.48187301

Leduc. Classical. Softcover. 109 pages. Heugel & Cie #HE27750. Published by Heugel & Cie (HL.48187301).

UPC: 888680826970. 7.0x11.0x0.38 inches. French.

“Trea tise of Harmony ? Bass and Voices is an absolute must-have volume on harmonies by Théodore Dubois. Written in the last century (1921), this book includes the two parts of the treatise: Part 1 ? Basses and Part 2 ? Voices. This volume is quite complex, requires some strong theory knowledge and would be playable by upper-advanced players and professionals. It also features numerous examples. The two parts contains the following sub-sections: Part 1 ? Basses - Consonant harmonies - Dissonant harmonies - Alterations - Delays - Pedals - Appendix Part 2 ? Voices - Consonant harmonies - Dissonant harmonies - Alterations - Delays, Pedals? - Appendix ”.

Composed by Jacob Narverud. Fold. Octavo. 8 pages. Duration 2 minutes. Carl Fischer Music #CM9648. Published by Carl Fischer Music

SKU: GI.G-10066

Composed by Deborah Williamson. This edition: Instructor edition. Music Education. 158 pages. GIA Publications #10066. Published by GIA Publications (GI.G-10066).

ISBN 9781622774258.

A Course in French Lyric Diction by author Deborah Williamson is a complete and comprehensive guide to French pronunciation, articulation, inflection, flow, and vocalization for singers and teachers of singing—ideal for any collegiate diction course. Available in both an instructor’s edition and a student edition, Williamson offers an overview of French lyric diction that addresses the language’s distinctive elements, information on syllabification, stressing, word rhythm, accent and other diacritical marks, and vocalic harmonization. In the sections on vowels, consonants, and liaison and elision, the author explores the nuances of French pronunciation, along with its unique challenges for the singer. Williamson presents vowels first by sound and then by letter, and organizes consonants by letter. All pronunciation is precisely transcribed into the International Phonetic Alphabet (IPA), an essential tool used extensively throughout the book. Williamson also provides a review of relevant IPA at the beginning of the book. For each section of the book, the author provides numerous practice worksheets so that students may apply newly acquired skills and knowledge to French text from the standard art song and operatic repertoire. The separate instructor’s edition provides all of the answers in red for quick reference, as well as reproducible materials for in-class use, including a sample syllabus, assignment sheet, test review sheets, two tests, an oral exam, and a final exam. A Course in French Lyric Diction is an expert resource that will facilitate the mastery of French diction and transform the study of diction from a pedantic, syllabic production of language into an expressive communication of the text, a worthy goal for students and teachers alike. Deborah Williamson is Professor of Voice at Baylor University and has taught French diction at the university level for more than twenty years. DOWNLOAD: French Lyric Diction PDFs.

By David A. Clippinger. For voice, piano. Published by Theodore Presser Company.

Choral SSA Choir and Piano

SKU: CF.CM9716

Day of Wrath. Composed by David (D) Smith. 12 pages. Duration 0:01:57. Carl Fischer Music #CM9716. Published by Carl Fischer Music (CF.CM9716).

ISBN 9781491160954. UPC: 680160919550. Key: D minor. Latin. Early Latin Text.

This text is taken from the Dies Irae Sequence from the Requiem Mass. It is a contemplation of the arrival of judgment day. The A-sections, mm. 1-29 & mm. 43-end, are a manic depiction of the fierce wrath of judgment day. They should be sung with fire, crisp consonants while always enunciating the accents in order to realize the full effect of this powerful text. The entire demeanor of the tone and facial expressions should change for the B-section, mm. 30-42 as it is a plea for mercy. The audience should realize the change in this contrasting section. Translation Dies irae, dies illa: Day of wrath, that day Solvet saeclum in favilla: shall dissolve the world into embers Teste David cum Sibylla: As David prophesied with the Sibyl. Voca me cum benedictis :Call me to be with the blessed. Salva me fons pietatis : Save me, fount of pity. The Sibyl is a reference from a Greek word, which means Prophetess. In this context, the word appears in plural, referring to many prophetesses. David, or King David, has long been considered prophetic among biblical scholars. About the Arranger D. Farrell Smith is the Director of Choirs at Hilldale Middle School, and Hilldale High School in Muskogee, Oklahoma. He holds a B.A. in Music Education and the M.A. in Theological Studies. Currently the Minister of Music at Eastern Heights Baptist Church, he has been a Music educator and Minister for 20 years. Mr. Smith studied with Dr. Gary Foster and Dr. Donald Studebaker and has performed under such notables as R. Evan Copley, Daniel Pinkham, Lloyd Pfautsch, and Bev Henson.
This text is taken from the Dies Irae Sequence from the Requiem Mass. It is a contemplation of the arrival of judgment day. The A-sections, mm. 1-29 & mm. 43-end, are a manic depiction of the fierce wrath of judgment day. They should be sung with fire, crisp consonants while always enunciating the accents in order to realize the full effect of this powerful text. The entire demeanor of the tone and facial expressions should change for the B-section, mm. 30-42 as it is a plea for mercy. The audience should realize the change in this contrasting section.TranslationDies irae, dies illa: Day of wrath, that daySolvet saeclum in favilla: shall dissolve the world into embersTeste David cum Sibylla: As David prophesied with the Sibyl.Voca me cum benedictis :Call me to be with the blessed.Salva me fons pietatis : Save me, fount of pity.The “Sibyl” is a reference from a Greek word, which means Prophetess. In this context, the word appears in plural, referring to many prophetesses. David, or King David, has long been considered prophetic among biblical scholars.About the ArrangerD. Farrell Smith is the Director of Choirs at Hilldale Middle School,  and Hilldale High School in Muskogee, Oklahoma.   He holds a B.A. in Music Education and the M.A. in Theological Studies. Currently the  Minister of Music at Eastern Heights Baptist Church, he has been a Music educator and Minister for 20 years. Mr. Smith studied with Dr. Gary Foster and Dr. Donald Studebaker and has performed under such notables as R. Evan Copley, Daniel Pinkham, Lloyd Pfautsch, and Bev Henson.

String quartet - difficult

SKU: HL.49044143

For string quartet. Composed by Detlev Mueller-Siemens. This edition: Saddle stitching. Sheet music. String Ensemble. Softcover. Composed 2011. 96 pages. Duration 12'. Schott Music #ED21351. Published by Schott Music (HL.49044143).

ISBN 9790001187237.

...c alled dusk II for string quartet draws its inspiration from a line in Samuel Beckett's short story Lessness: 'Figment dawn dispeller of figments and the other called dusk'.The work is a kind of double Chaconne, each part of which contains 26 chords based on specific permutations of fundamental notes and their harmonics. Each of the parts pass through alternating, harmonically contrasted planes, becoming entwined in the manner of a chimera through their rhythmic structure and dynamics. This intermittently produces a sort of 'inner voice' which runs through all four instruments. The fundamental notes and harmonics separate during the progress of the composition, becoming independent and then disintegrating. The consonant harmony resulting from the amalgamation of the two planes ultimately collapses into a rigid motor-like linearity. Detlev Muller-Siemens.

by Misha V Stefanuk. For Piano. theory and harmony. Jazz. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 128 pages. Published by Mel Bay Publications, Inc.

Mixed choir

SKU: FG.55011-348-0

Composed by Matthew Whittall. Score. Fennica Gehrman #55011-348-0. Published by Fennica Gehrman (FG.55011-348-0).

ISBN 9790550113480.

Shik i began as a request for a short winter-themed piece for the Hamalais-Osakunnan Laulajat choir in Helsinki. It eventually grew into a four seasons-type cycle on haiku by a 20th century Japanese monk Santoka Taneda.
The music of Shiki is a progression through various states of near-stasis. The main impression the composer wished to convey was the one of absolute stillness at the heart of each scene, of communion with the outer world, as if the viewer were drawing the landscape into him, and at the same time dissolving himself into it. The voices are treated texturally, as well as textually, moving on slow masses, with the soft but precisecely colored vowels of Japanese creating the basic sounds, and the sharper consonants giving them shape and definition.

Composed by Nancy Raabe. For Unison choir with piano. Sacred Anthem. General. Octavo. Published by Chorister's Guild

Choral SATB Choir

SKU: PR.UE034186

Composed by Richard Filz. Rhythm Voices. Part. With Standard notation. Composed 2008. Universal Edition #UE034186. Published by Universal Edition (PR.UE034186).

ISBN 9783702466800. UPC: 803452063995.

As part of the Rhythm Voices series, German drummer/composer Richard Filz gives us Airdrummers of Tombalesi, a lively piece for choir or four-part voices written in a percussive style. Each voice part imitates the drum with consonant and vowel sounds, resulting in unique and tangible tone color. For intermediate to advanced singers.

Orchestra

SKU: HL.14035756

Composed by Per Norgard. Music Sales America. Classical. Book [Softcover]. 16 pages. Music Sales #KP00298. Published by Music Sales (HL.14035756).

ISBN 9788759868294. English.

Wenn Die Rose Sich Selbst Schmückt, Schmückt Sie Auch Den Garten (When The Rose Beautifies Itself, It Beautifies The Garden ) was composed by Per Nørgård in 1971.

Chamber Cantata for four performers

Scored for Soprano, Alto Flute, Double Bass and Percussion (all playing also Crotales).

Composed for and dedicated to Dorothy Dorrow.

Parts available: KP01092

Preface / Programme Note

The title of the work is borrowed from a fragment by the German poet Friedrich Rückert.
This fragment, this short sentence (which Rückert apparently neverelaborated upon) is the entire basis of the work. I was inspired by the meaning as well as the sound of these words.
I perceive the meaning of the sentence as being a defence for the refinement of an individual’s personal gifts - far from the present hostility toward individuality and the senseless praise of impersonal success in society. Personal refinement can, so the fragment in my interpretation, at its best be accompanied by a deep sense of responsibility, and become an active and positive influence in society.
The sound, the timbre, of the individual words and characters is employed both in
straightforward text-sequences, as well as in the exploration of individual vowels and consonants as pure sounds. The soprano is often used purely instrumentally, echoing and pre-echoing discreetly the notes of the flute and the harmonics of the double bass, often imperceptably stealing their notes and altering them into human sounds, which then yet
again are absorbed into the instrumental tapestry.

Per Nørgård, 1971

Music for Two Guitarists - Revised New Edition 2020. Composed by Helmut Lachenmann. World premiere: Baden-Baden, December 3, 1977. Breitkopf and Haertel #EB 9389. Published by Breitkopf and Haertel

(A Step-by-Step Guide to Better Rhyming for Poets and Lyricists). Berklee Press. Softcover. 136 pages. Published by Berklee Press

Composed by Libby Larsen (1950-). Choral octavo. 16 pages. Duration 4'. Published by Oxford University Press (OU.9780193868885).

SA choir, organ, flute/C instrument/B-flat instrument - Beginning

SKU: MN.50-1402

Composed by Dale Grotenhuis. Christmas. Choral score. MorningStar Music Publishers #50-1402. Published by MorningStar Music Publishers (MN.50-1402).

UPC: 688670514029.

Conso nant, functional setting of Polish carol, W ZLOBIE LEZY. Charming Flute obbligato.